Showing 1 - 10 of 18 annotations contributed by Taylor, Nancy
Summary:Californians Sara and Richard Everton move to Ibarra, a village in central Mexico, where Richard plans to reopen the copper mine his grandfather had worked before the Revolution of 1910. Six months after arriving, Richard learns he has leukemia. Their Ibarra neighbors offer home remedies, for they have a "companionship with death": "daily and without surprise," the people of Ibarra meet "their individual dooms . . . [and accept] as inevitable the hail on the ripe corn, the vultures at the heart of the starved cow, the stillborn child." Creating stories about the villagers, Sara gives them happy endings, the kind she wants for Richard's story. After his death, in a California hospital, Sara returns to Ibarra, and the villagers bring stones to mark their remembrance of Richard.
Jeff Taylor, a young surgeon whose career was cut short by a hand accident, decides, after finishing a residency in anesthesia, to enter the newest residency program offered by Northwest Regional Hospital: a program in euthanasia. The novel features three residents and their superior; a reporter for a tabloid who tapes hospital conversations; Pennington, a wealthy conservative who wants to increase pressure on those performing abortions; and Micah Chaine, an ex-priest hired by Pennington to work behind the scenes setting up demonstrations and setting off bombs.
Chaine, feeding on his own religious beliefs, decides those involved in the euthanasia program must die. When Pennington wants out of their deal, Chaine kidnaps Pennington's wife and one of the euthanasia residents and sets bombs for the others.
Outside, on a stony street, the narrator watches as the hospital he’s about to enter materializes out of Edinburgh’s cold morning mists. The hospital is described as a place "gray, quiet, old / Where Life and Death like friendly chafferers meet." Like contemporary hospitals, it has a "draughty gloom" and loud spaces.
The narrator, who is the entering patient, follows into the hospital a small, "strange" child with her arm in a splint. She precedes him gravely; he limps behind. The narrator feels his spirits fail as he recognizes the "tragic meanness" of the place, a place with "corridors and stairs of stone and iron / Cold, naked, clean--half-workhouse and half-jail."
Margaret Binton and three New York City friends travel to Miami in a motorcoach Margaret won in a church raffle. They park on a street, Margaret argues with the policeman who gives them a ticket, and they make connections with the police that later pay off. Feeling sorry for the elderly people sitting on the porches of nursing homes on the street, Margaret, Sid, Bertie, and Durso decide to give them day trips in the RV.
At one rest home they find locked doors and no welcome. Margaret's insistence gets her inside for a brief talk with the owner, but as she leaves, one of the old men slips her a note that says "Prisoners . . . since The Eternal Holidaze." (56) Margaret and her friends figure it's the name of a boat; they find it and determine to help those in the nursing home. Needing proof, they send Sid undercover. Sid's ingenuity and gumption as well as luck and the help of his friends save his life, literally at the last minute.
This memoir of Bayley's life with novelist Iris Murdoch who, in 1994, began exhibiting signs of Alzheimer's disease, is divided into "Then" and "Now," with emphasis on the "Then." Bayley admits that their independent lifestyles, which had both bound them and allowed them freedom, kept him from knowing the "real" Murdoch; sadly, the novelist is almost as much an unknown to him as to us. He speaks of Murdoch's lack of any sense of superiority and her disinterest in social or artistic success; she simply did her work.
In the brief section titled "Now," Bayley presents seven episodes of their life together between January and December 1997. These pictures of Murdoch lost and at sea, following him around, uttering "mouse cries," collecting pebbles, moss, sticks, dead worms, and asking over and over "When are we going?"--these will be familiar to Alzheimer's families, as will his sometimes rage and his constant sense of frustration and loss.
This series of 28 poems plus an envoy describe, from the patient's point of view, a 20-month stay in an Edinburgh hospital in the 1870s. The narrator delineates--from the cold and dread of Enter Patient through the giddiness of "Discharged"--his reactions to hospital personnel (from doctors and nurses to scrub lady); to his fellow patients (from children to the elderly, during bad days and holidays), to visitors, and to death.
Because he stays for 20 months, we also witness his seesawing emotions about his own state of health. The epigraph from Balzac suggests that a person in bed and ill might become self-centered, so the narrator purposefully maintains a dispassionate tone. It is a tone so distinct yet distanced that Jerome H. Buckley (William Ernest Henley: A Study in the "Counter-Decadence" of the 'Nineties, New York: Octagon Books, 1971, c. 1945) compares the poems to steel engravings.
High-school freshman Barry Wilson enrolls in Bay Area Social Concerns and must visit 83-year-old Miss Pierce at Cherry Garden Convalescent Hospital. Barry, short, shy, and miserable at his first visit, thinks of pictures of mummies he's seen in National Geographic; Miss Pierce thinks he's somebody named Willie.
But as Miss Pierce talks about her brother Willie and her childhood as a cripple, Barry gets interested. The story isn't a happy one, and Barry, himself adopted, identifies with Willie's abandoned child and becomes angry with the world until he comes to realize how important he is to his parents.
It is the year 2021. The last birth recorded on earth occurred in 1995 (Year Omega). In England, Xan Lyppiatt is Warden; he promises security, comfort, and pleasure to his people. Xan's cousin, Theo Faron, Ph.D., retired professor of history at Merton College, Oxford, becomes involved with 5 people who oppose Xan's worst policies: the Quietus ("voluntary" mass suicides of the elderly), the sending of all criminals to the Man Penal Colony where there is no one to control cruelty, the rules forbidding Brits from traveling abroad and allowing only Sojourners (slave/workers) to emigrate, the compulsory testing of sperm and routine examinations of healthy women, and state-run porn shops. Theo and the 5, one of whom is pregnant, flee to avoid capture by Xan's men.
To take care of Aunt Martha, a Mississippi family agrees to a cousin's moving in with her; cousin Howie then maneuvers the family into running a home for the elderly. Martha agrees because Lucas, a physician with whom she's had a long relationship, will come to live there. As more elders come and as they get sick, the methods (restraints, use of drugs, unclean conditions) of Howie and his hired staff become a threat to all.
Martha and Lucas are rendered powerless by their inability to make the family believe their side of the story; even Harper, the family's longtime African-American butler, cannot help. Because he fears that Howie will sedate both of them into oblivion, Lucas decides to burn the house down--after killing several of the "prisoners" first.
Narrated by Jake Baker, a 73-year-old who'd been sent to a nursing home by his niece, this novel recounts the adventures of Jake and Lucas Kraft after they leave a nursing home to become cowboys. Lucas is a writer whose pessimistic view of life is the opposite of Jake's. Never able to tell the truth about himself, Lucas has lost both fame and love but not his lust for life.
The two men hitchhike west (with a series of crazy drivers) and eventually find jobs on a Texas ranch. Jake falls in love with Betty, perhaps the foulest-mouthed cook ever invented; Lucas finds Sally Crandall, his ex-wife, a movie star, and the love of his life, who's performing in a cowboy-and-Indians movie not far from the ranch. Jake and Lucas actually do become cowboys (in the movie).